Artwork Blog

13 November 2017 - 8 April 2018
Curated by Sean Anderson and Giampaolo Bianconi
In 2016 the Museum of Modern Art acquired one of the few remaining Connection Machine CM-2 artificial intelligence supercomputers for their permanent collection. It is unlikely to be on permanent display, so go see it now!

Started in 2015, FACETS is an interdisciplinary ‘un-conference’ focused on furthering marginalized voices at the intersections of art, technology, and engineering. This year’s focus is on Art and Artificial Intelligence (AI), and will explore the future of activism, data science, and bias within machine learning and artificial intelligence.

A preliminary collaboration with the Google Tilt Brush team! Exploring how every plant and figure can be created with a unique brush and gesture.

In the "Land of Cloud": The people are silent. They communicate not through speech, gesture or gaze, but through strange "cloud mirrors," which keep them in constant contact with their deity, The Cloud, in whose image they are created.

The Caribbean Cultural Center and African Diaspora Institute is a cultural center for the world-wide African diaspora based in East Harlem ("Spanish Harlem") in New York City. Back in 2012 as "AR artistic advisor" I helped them get a Rockefeller Foundation Cultural Innovation Award for "Mi Querido Barrio," a Street Art project to put their art, culture and history on the streets of El Barrio/East Harlem using augmented reality.

I held workshops in AR for CCCADI's artists, and they invited me to create a work for the exhibit that would trigger off the facade of the new building itself. For my piece we asked residents, "What makes El Barrio feel like home?" I took their handwritten and signed answers and transformed them into golden words that swirl around you when you scan the facade.

9e2 was an art exhibition and performance series curated by John Boylan to commemorate the 50th anniversary of the legendary exhibit “9 Evenings: Theatre & Engineering.,” Organized in 1966 by Robert Rauschenberg and Billy Klüver in New York, and featured artist performances in collaboration with engineers from Bell Labs, it sparked a new era of collaboration between artists and technologists.
The 9e2 festival embraced that same spirit of experimentation and collaboration with a new series of works that explored the intersection of art, science, and technology.

Native plants mutate to survive climate change - and take over the Olympic Sculpture Park.
With thanks to UW Professors Josh Lawler and Julian Olden, Center for Creative Conservation, for their advice!

Synesthetic video to audio project in collaboration with Christoph Reiserer:
Give us your face, and we will transform it into a personal music composition and cubist video portrait.
A multi-media portrait for the Selfie Generation.

A participatory public artwork connecting body rhythms to potential ecosystems, Biomer Skelters asks participants to choose between being Indigenators protecting native biomes, or Exoticators propagating biome shifts due to global warming. Shown in the textile souk of Dubai's Old Town, plus other locations around Dubai and Sharjah, UAE.

An augmented reality installation on the fragility of human vision. Inspired by palinopsia, a rare visual disorder, two site-specific
installations question our perceptions of reality.

Dr. Dominic ffytche:Working with Tamiko Thiel has helped crystalise what ... we do not know. ... This realisation, that much of the key evidence
required to understand palinopsia is missing, was an unexpected outcome of the collaboration and
what
I have
taken away is a fresh outlook on palinopisa together with new ideas on how to progress research in this area.

Commissioned by the AXNS Curatorial Collective, in collaboration with
Dr. Dominic ffytche, King's College London. Supported by Art Council England, the Wellcome Trust, King's College London and the MERGE Festival..

The 4th work in the "Shades of Absence" work series, "Governing Bodies" is a monument to artists censored due to pressure from high U.S. government officials. Fine art prints of silhouettes of Robert Mapplethorpe and Paul Cadmus - formed out of terms of censorship - were exhibited in the Corcoran Gallery 31.

The augmented reality work includes artists such as the NEA 4 and Andres Serrano, and is geolocated permanently in the Corcoran Gallery of Art, the U.S. Capitol Building and the National Endowment for the Arts offices in the Old Post Office Pavilion.

Part of "overtures ZeitRäume," a project series by pilotraum01 e.V. curated by Serafine Lindemann / artcircolo and Christian Schoen / kunst | konzepte, in cooperation with the St. Lukas Church Munich, Pastor Beate Frankenberger, and the citizens of the Lehel neighborhood in Munich.

Manifest.AR was commissioned by the Samek Art Gallery of Bucknell University and by Zero1 itself to create new works for
the Zero1 Biennial, Silicon Valley, USA.
I showed two new works, Clouding Green and Fortune 500 Cookies,
and have placed the ARt Critic Face Matrix in the San Jose Museum of Art and
San Francisco Museum of Modern Art.

The director of the Transmediale, celebrating 25 years of interventionist art, speaks of "offensive AR art" and makes it clear he does not want it at his festival. How should an artist react?
With an AR intervention, of course ...